A Nonobjective Is a Published Collection of All the Works of a Given Artist or Art Exhibition

This page sets out some guidance on special issues commonly encountered in writing about the visual arts, and has been developed by members of WikiProject Visual arts. It should be read in conjunction with the Wikipedia Manual of Style. Queries can be raised at the discussion pages here or at the Visual Arts Project.

Helpful Wikipedia links [edit]

• Wikipedia manner guidelines
  • Wikipedia:Citing sources
  • Wikipedia:Manual of Style/Biographies
  • Wikipedia:Manual of Style/Lists of works

• Wikipedia guidelines
  • Wikipedia:Notability
  • Wikipedia:Notability (people)
  • Wikipedia:Naming conventions (use English)

• Wikipedia:WikiProject Fact and Reference Check
• Wikipedia:Communication for the cultural sector is a special page dealing with the concerns of editors who are museum curators, librarians or archivists.

Text issues [edit]

Using infoboxes and templates [edit]

There are defended infoboxes and some templates for Visual arts articles at Wikipedia:WikiProject Visual arts#Templates, in addition to the standard biography infoboxes and national/cultural templates. There may exist a conflict for space between the demand to illustrate visual arts manufactures and the utilize of infoboxes. This is decided on a case-by-case footing.

Templates at the lesser of the page are usually preferable to those at the side, where they may make information technology difficult to incorporate proper illustration of a VA article. If so, they are probable to be removed.

Information in an infobox contains bones introductory facts from the article. If something is not substantiated in the article, or would involve over-simplification, information technology should non be included in the infobox. An alternative to an infobox is to use a normal picture with caption.

Lead section [edit]

In general it is best and safest to use "artist" in the lead of a biography; very many artists were not but painters (many articles are currently defective in this respect). If the artist did pregnant work in several media, that should be indicated, equally, for example:

Edgar Degas (nineteen July 1834 – 27 September 1917), born Hilaire-Germain-Edgar Degas (French pronunciation: ​ [ilɛːʁ ʒɛʁmɛ̃ ɛdɡaʁ də ɡɑ]), was a French artist, who worked in painting, sculpture, printmaking and drawing.

The lead section on individual works of art should give at least the post-obit data (in roughly this order): Name(south)/title(s) of work, artist, date, blazon and materials, subject field, nation or city of origin, nowadays location. A reference to the fashion, school or movement it or the artist belongs to is usually advisable. If there is a quotation from a reliable source assessing its general quality or significance, that can be added, merely avert unreferenced assertions which volition be challenged, fifty-fifty if they are reasonable. An indication of the work's place in the artist's development, or a larger fine art historical movement, may exist advisable. Per WP:LEAD the rest of the section should generally summarize, at least for longer articles, the cloth covered in the other sections, especially if "unexpected" – if the object is widely considered to be a fake, like the Getty kouros, do not relieve this information for a later department. This is often called the "no surprises" principle – after reading the atomic number 82, there should be no major surprises in the rest of the article.

Capitalization and fine art movements [edit]

Capitalization of art movements and fine art style names is a circuitous issue.^[1] The Higher Fine art Association style guide for Fine art Message says (or, information technology seems, used to say):

In general, sharply delimited menses titles are capitalized, whereas large periods and terms applicable to several periods are not: e.chiliad., Archaic, Bizarre, Early and Loftier Renaissance, Early Christian, Gothic, Greek Classicism of the 5th century (otherwise, classicism), Imperial, Impressionism, Islamic, Mannerist, Middle Ages, Modernism, Neoclassicism for the belatedly-eighteenth-century movement (otherwise, neoclassicism), Mail service-Impressionism, Pre-Columbian, Rococo, Roman, Romanesque, Romantic catamenia, Xth Dynasty, antique, antiquity, classicism (see higher up), medieval, mod, neoclassicism (run into in a higher place), postmodern, prehistoric, quattrocento.

In passing references to details of mode, information technology may be advisable to use lower case terms e.g.: baroque, gothic, mannerist, modernist – only always Renaissance, Impressionist, Middle Ages.

A way guide at zeal.com suggests using a dictionary to make up one's mind capitalization. However, dictionaries vary on art motion/style capitalization. (See User:Sparkit/capitalization.) The Wikipedia Manual of Way does not touch on art movements and styles in item, but MOS:CAPS states that Wikipedia style is to use lower example when sources are inconsistent. See also the Association of Art Editors Way Guide, 2013.

1. ^ :Association of Fine art Editors Style Guide, 2013. Art movements, periods, and styles: "The question of whether to capitalize or lowercase is one of the virtually common in the field of fine art history and ane of the most hard in which to achieve any understanding."

Lists of works [edit]

Lists of works within a biography should be used cautiously; they are really only appropriate for major artists with a modest oeuvre, like Leonardo da Vinci or Giorgione. Longer ones are all-time moved to divide manufactures like Listing of works past Caspar David Friedrich. If compiled from old sources like EB 1911, in that location are likely to be inaccuracies as (a) many works in individual collections will have been sold and (b) some in museums will have been re-attributed. A curt section on notable works is meliorate, although care must be taken to give a worldwide view, non just covering works in the English language-speaking world.

Lists of museums, galleries, or collections [edit]

Although these types of lists may exist plant in artist's resumes, they are not very useful to Wikipedia readers if they only list institutional names and zilch else. A reader tin typically detect much meliorate data through a basic web search. A list of notable works, equally described previously, may optionally be annotated with the location of the artworks, if known and non expected to change.

Articles to write [edit]

In that location is a need for more articles on non-Western celebrated art, and on applied or decorative art from all times and places, where coverage is generally very poor at nowadays.

Generally, very curt articles (say less than 200 words of main text) on private works of fine art are to be avoided, every bit the data can be included in the main article on the creative person, or incorporated with other similar short pieces in a dedicated article, such every bit Portraits by Vincent van Gogh.

When in that location is sufficient notability and data to merit a dissever article on an individual work of art, all pertinent facts as specified in Image captions (below) should be included, as well equally relevant cloth covering the content, iconography, style, significance in the artist's oeuvre, and provenance.

Shorter manufactures on artists (i.e. a stub) are acceptable, provided the subject meets the notability guidelines, and the commodity meets our standard of verification, with a sufficient number of independent reliable secondary sources (see sources beneath).

Multiples, copies and versions [edit]

• MOS:Art/MULTI

Where a work of art is produced in multiple copies, equally with a cast bronze sculpture, a impress, or works of decorative fine art produced under factory conditions, the article should as far as possible encompass all copies, and unremarkably should reflect this in its championship and text, rather than specifying one location. The same generally goes for objects produced as a matching set, even if they are now separated. If the articles get long enough, information technology may be appropriate to give individual members of a set their own manufactures, as with the 6 paintings in Marriage A-la-Mode (Hogarth). Examples: Bust of Winston Churchill (Epstein) (10 or more casts), Sèvres pot-pourri vase in the shape of a ship (in porcelain with several examples), and Raphael Cartoons (a set).

Article titles [edit]

Article titles
All naming conventions
Category:Wikipedia naming conventions
Nature
Fauna (animals) Flora (plants)
Arts· Entertainment· Media
Books Dissemination Comics Films Manuscripts Music Operas Television Video games Visual arts
People
Clergy Ethnicities and tribes Ancient Romans Royalty and nobility Sports Baseball players
Scientific discipline· Technology· Transport
Astronomy Chemistry Medicine Programming languages Aircraft Ships
Government· Politics· Law
Regime and legislation Legal Political parties
Organizations
Companies Latter Twenty-four hour period Saints Sports teams
Numbers· Dates
Numbers and dates
Places· Events
Places Events
Lists· Categories
Categories Lists Long lists Stub sorting
Linguistic communication/state-specific
Writing systems All languages All countries Armenian Bangladesh Burmese Chinese High german Greek Hebrew Indic Irish Japanese Korean Macedonian Mongolian New Zealand Sometime Norse Smooth Russian Tibetan Ukrainian
Formatting
Capitalization Apply English Definite or indefinite article at beginning of name Plurals Acronyms Technical restrictions
v t e

Biographies [edit]

If a biography needs disambiguating and then John Smith (creative person) is commonly the all-time choice, as opposed to e.grand. John Smith (painter) (see Lead section above). For other people John Smith (potter) or "art historian", "silversmith" may be appropriate. For movements, or techniques, add (fine art) or a more specific term such equally (sculpture) if appropriate.

Works of art [edit]

For articles on individual works of art:

• The championship of a work of art is italicised in text, as well as the commodity title itself (use {{Italic title}}). Other artworks may have names (unitalicised) rather than titles, a fine distinction. These include illuminated manuscripts (except where they are the unique manuscript of a piece of work whose title is the name for the manuscript) and other objects that are of some applied use, or archaeological artefacts, which are not italicised in whatever context: Royal Gilded Loving cup, Sedgeford Torc etc. For a title with no owner's name or location in it to exist italicised, it has to be plausible to some caste that the creator would have considered the name we know an object by as its title.
• If the title is not very specific, or refers to a mutual subject, add the surname of the artist in parentheses afterwards, e.g. Reading the Letter of the alphabet (Picasso). It is by and large better to disambiguate by the artist'south proper name than by medium, as there may be other paintings or sculptures of the aforementioned name by other artists. If the creative person painted several works with the same, or very similar, titles, add the location of the piece of work if it is in a public drove. For example, Declaration (van Eyck, Washington), every bit van Eyck painted several Annunciations. A title such equally Madonna and Kid (Raphael) is of piddling utilise (see Category:Raphael Madonnas), and Battle of Orsha (unknown) is conspicuously unhelpful. The names of less well-known artists may not exist suitable disambiguation terms.
• Avert the construction "X's Y" (east.g. Botticelli'south Nativity of Venus). It only works in a small minority of cases, such as Dürer's Rhino, where the work is very well known by that title and the culling (The Rhino (Dürer)) is considered as well far from common usage.
• Where there are several variant titles, preference is usually given to the predominant 1 used by fine art historians writing in English language, and if this is not clear, the English title used by the owning museum. Few erstwhile master paintings had specific titles when they were painted.
• Objects such as excavated artifacts or illuminated manuscripts normally known past a name combining a previous or current owner, location, or place of discovery, followed by the type of object, should usually be treated as proper names for the object, and all words capitalized, but not italicised, as these are names not titles. Examples: Rosetta Rock, Cloisters Cantankerous, Berlin Gilded Lid. If in doubtfulness, the proper noun used past the owning museum is persuasive, although the proper noun used virtually commonly in contempo scholarly references is the ultimate criterion; there are odd variations – both Berlin Golden Lid and Mold gold cape seem the best established capitalizations.
• Fix redirects for variant titles, such as the original-language title for modern works or variant translations. Often a redirect with or without an initial "The" is likely to exist useful.
• The utilise of "the" is complicated. Works where "the" begins a specific and non-generic title purely describing the subject exercise include this in the commodity title. However common subjects, peculiarly religious ones, do not include "the" in the title, even when the episode is often or normally referred to preceded by "the", as in "the Crucifixion", the "Dormition of the Virgin", and and then on. Works whose usual title includes the name of a sometime owner or a location practise not include "the" in the article title. Examples: Dormition of the Virgin (El Greco), Desperation in the Garden (Bellini), Benois Madonna (former owner), Ghent Altarpiece (location), but The Birth of Venus (Botticelli), The Tempest (Giorgione), The Persistence of Memory.
• For portrait sculptures of individuals in public places the forms "Statue of Fred Foo", "Equestrian statue of Fred Foo" or "Bosom of Fred Foo" are recommended, unless a form such as "Fred Foo Memorial" or "Monument to Fred Foo" is the WP:COMMONNAME. If further disambiguation is needed, because at that place is more than than one sculpture of the same person with an article, then disambiguation by location rather than the sculptor is commonly amend. This may be washed equally either "Statue of Fred Foo (Chicago)" (typically preferred for North America) or "Statue of Fred Foo, Glasgow" (typically preferred elsewhere). If the sculpture has a distinct mutual name, similar the Bronze Horseman, that should exist used. Examples: Statue of Mahatma Gandhi (Houston); Statue of Queen Victoria, Sydney; Jefferson Davis Monument; Equestrian statue of Christian Five.
• For portraits in two-dimensional media, the styles "Portrait of Fred Foo" or "Fred Foo (Titian)" are both adequate in commodity titles; disambiguation by the artist is normally best. Practice not use the sitter's proper name solitary, without disambiguation, every bit the commodity title for a portrait of that person. Titles such as "Portrait of a Man" are all right to apply, only probably need disambiguation. The WP:COMMONNAME should exist used for modern works where the title is given by the creative person, and others such as the Arnolfini Portrait.
• Per MOS:SAINTS, sources should be followed equally to whether to employ "Saint", "St" or "St." in titles, allowing for a tendency in British English to utilise "St" and in American English "St." in such cases. All are common. For plurals, "Saints", "Sts" or "Sts." are preferable to "SS" or "SS.".
• Many works accept names by which they were well-known, but which are now falling out of apply, every bit the museums who now own well-nigh tend not to employ the erstwhile name. The Rokeby Venus is still sufficiently well known past that name to justify using it for the title, fifty-fifty though the National Gallery, London, uses the title The Toilet of Venus ("Rokeby Venus"). Only in the aforementioned museum, a piece of work formerly known as the Burlington House Cartoon is now called The Virgin and Child with Saint Anne and Saint John the Baptist. The institution's preferred name for the piece of work is now more than familiar than the older one, and is therefore used as the article title. In cases such as this the older title should be set up as a redirect and mentioned equally a variant, but non used for the article title.
• Foreign-language titles are generally only to be used if they are used by most art historians or critics writing in English – e.g. Las Meninas or Les Demoiselles d'Avignon. In that case they should exist used in the form used by most art historians writing in English language, regardless of whether this is really correct by the standards of the other language. It is not necessary to give the original-language version of titles of standard religious scenes or portraits, only for other titles this may exist desirable, for example:

The Tertiary of May 1808 (in Spanish El tres de mayo de 1808 en Madrid; Los fusilamientos de la montaña del Príncipe Pío ^[i] or Los fusilamientos del tres de mayo) is a painting completed in 1814 by the Spanish master Francisco Goya.

1. ^ Prado, p. 141: "The tertiary of May 1808 in Madrid; the shootings on Prince Pio colina".

Manuscripts [edit]

These are covered at Wikipedia:Naming conventions (manuscripts)

Exhibitions [edit]

Long lists of exhibitions should be avoided. Information technology will rarely exist useful to mention more than five exhibitions. For gimmicky and modernistic artists the venue of exhibitions tin can be important prove of notability, just only the most important should be given.

For historic artists, or types of fine art, that are not extremely famous (so not Rembrandt), it may be worth listing defended exhibitions in major museums going back equally much equally say forty years, as these tin be crucial to the reputation of the creative person or topic, and scholarship on them. In such cases, when a major exhibition is actually running, it can be appropriate to add a sentence maxim and then to the end of the lead; but it should be moved downwards to near the terminate of the article when the exhibition closes.

Describing works [edit]

Museums and collections [edit]

It tin can exist helpful to add the possessor of works to texts or captions of works referred to, only is not necessary, except for articles almost the specific work. If the owner is not included in the data in the picture file, and is known, it should be added there.

For works belonging to permanent public collections, avoid "... currently resides in", "is currently in the Louvre", "is on display at", "is located in", "is in the drove of", and like phrases. Merely give the proper noun of the collection, "Metropolitan Museum", or say "is in the Louvre", "is endemic by", "now in" or "belongs to". Locating in a "private collection" is fine simply any specific private ownership needs a recent reference (in particular do not trust old sources like the 1911 Encyclopædia Britannica, sometimes referred to every bit "1911 EB"). In one case acquired past museums, near works remain in that location, but are non necessarily on display at any particular moment. "Currently" is fine if the piece of work is known to be likely to motion for some reason, such as belonging to another institution, although we do not need to reflect loans to exhibitions etc. Use "in the Royal Collection" rather than "at Windsor Castle" or another location, every bit that is the appropriate link and works in the Royal Collection are often moved effectually. For case, many works that were at Hampton Court Palace for decades were moved to Windsor a few years ago, while their next habitation was beingness decided on. The French and Spanish national collections also often motion works around, to locations other than the chief Louvre or Prado.

Note on Berlin collections: The Staatliche Museen zu Berlin (Berlin Country Museums), often just "Staatliche Museen" or "SMB" on their logo, is non a location merely the legal and administrative body that administers at least seventeen museums in Berlin, listed at that article. During the division of the metropolis the Western torso was known equally the "Prussian Cultural Heritage Foundation" (German: Stiftung Preußischer Kulturbesitz), which still sits above the Staatliche Museen as a parent body. These names are often credited as the owner or copyright holder for objects or pictures in art books. Now that the post-unification rearrangement of the Berlin museums is finer complete, where a specific museum for an object is known, that should be used. And so onetime primary paintings are usually in the Gemäldegalerie, Berlin, the Nefertiti Bust is in the Neues Museum, and so on. Just where a location is not known, the object should be described as owned by or held by the Staatliche Museen. Western antiquities can likewise be described as belonging to the Antikensammlung Berlin ("Berlin Antiquities Collection"), a traditional umbrella term for this collection, now divided between several institutions.

See Netherlandish for the distinction betwixt this and "Dutch" or "Flemish" in art.

Dates [edit]

Avoid "an 1876 painting", utilise a "painting of 1876" or "his nude Jimbo Wales (1876)" etc.; "from 1876" is best avoided, except in a give-and-take of a chronological development of mode or similar passage. This partly a affair of US/UK style: "an 1876 painting" is more acceptable in American English, only will rarely exist found in American academic writing. For a painting that was completed over more than than one year, either the range of years, or the yr of completion should normally be given, or "completed in 1512", "deputed in 1623", "begun in 1845" etc.

Measurements [edit]

Measurements should ever be given for a work that is the article discipline, simply are not normally needed in captions (see that department), unless there is a particular point existence made, or the size of the object might exist thought to be radically different from the real size. Ever give measurements in the order: top, width, & depth/diameter etc. if appropriate. Centimetres (very rarely millimetres) are now standard in academic art history, fifty-fifty in the US (though not e'er in museum captions), merely ideally convert by template, as the MOS requires. Measurements are normally at the maximal place, simply sometimes an explanation of where the measurement was taken is given in the source, which may need to exist repeated in the article. Very full measurements of a painting may give the "visible expanse" of the framed piece of work, the "painted expanse", frequently not exactly rectangular, and the measurements to the edge of the stretcher frame underneath a canvas.

Medium [edit]

Avoid "an oil-on-canvas painting" – information technology is "an oil painting on canvas" (unless information technology is really a panel painting, etc.)

Right and left [edit]

Come across proper correct for ways of unambiguously describing right and left in images.

Prints [edit]

Avoid "copper engraving" etc. (often found in pre-1900 material, or that half-translated from High german and other languages where the term remains current)  – just utilize engraving. Older sources (such equally the 1911 EB) may utilize "wood-engraving" as a term for woodcuts (rather than true wood engravings, only invented in the late 18th century), which is not acceptable now. Original prints, or reproductive ones of before nearly 1800 could be linked to one-time master print or popular print (the latter not date-limited), if the technique, such as engraving, etching, linocut etc. is not known. Descriptions of print techniques on Commons descriptions should exist treated with great caution; many if not well-nigh are inaccurate. "Engraving" is often treated as a generic term for all prints, which is to be avoided. See printmaking for a summary of the techniques, just just use "print" if the actual technique is unknown.

Using images of art [edit]

If an image shows only part of a work, especially a painting or other 2nd piece of work, the explanation should specify it is a "particular". Reversed images should very rarely be used, for example to make a particular point, and they should be very conspicuously captioned as reversed.

Images of buildings illuminated at night are often pretty, but almost ever very poor at showing the building. They should exist used very sparingly, and never as the lead motion picture where in that location is an culling.

Basic formatting and size [edit]

The basic formatting code for an image is:

[[File:Name of image.jpg|pollex|Name of artist. Name of artwork.]]

"Pollex" has four effects:

1. It allows the caption to brandish
2. Default position is on the correct of the page (specifying "correct" is therefore redundant)
3. Default size is 220 pixels wide
4. If registered users have changed the thumb size in their preference settings (anything upwards to 400 pixels broad) and then the epitome volition appear for them at their selected size.

Most images will exist left at this default size and not take a "forced" image size. Specifying "225px", for example, means all users are forced to see the paradigm at that size, as it over-rides their preference setting. Some other reason for not forcing big image sizes, is that the effect can be ugly on some, particularly low res, screen settings. It is therefore a sound practice to look at a page on different screen settings.

At that place are exceptions to this, when an image size is specified. This might be because there is a lot of detail, or because it is the lead epitome on the page. In such cases, 300px is a good size to consider, as anything less will accept the reverse event to enlargement for users who have their preference setting at the maximum 400 px.

In that location are some other options which can exist put into the basic image coding:

[[File:Name of prototype.jpg|thumb|upright|left|Name of creative person. Proper name of artwork.]]

"Left" positions the image on the left of the page. The default sets the width at 220 pixels, which is fine for "landscape" images which are wider than they are alpine. Where the opposite is the case, "upright" may be used to compensate for this. Even then, some very narrow images need a forced smaller size.

Image captions [edit]

The minimum data to exist included is:

• Creative person proper noun – linked for at least their outset caption, except where the article is a biography. The proper name should not be in bold text.
• Championship of work in italics, – wikilinked if there is an article on the work. This may non apply to older works where there is no original title, and the subject is obvious, such as in a still-life. Include the title of the work in English whenever possible; adding the original language is unnecessary unless in that location is no English translation bachelor.

Optional boosted information:

• Date of work—usually appointment completed if it took more than ane year,
• Medium and back up, particularly if not oil on canvas,
• Size—particularly helpful for unusually big or pocket-sized works. There is not usually room to do this in both inches and centimetres, as the MoS prefers. Always put peak before width.
• Drove or whereabouts (optional, as should be on prototype data), linked in most cases.

Notation: some editors prefer "Title, Artist" to the other way circular. This should be consistent within an commodity. A short explanatory explanation is often desirable, showing why the picture show has been included, if necessary at the expense of some of the more technical information. Deport in listen image size preferences when writing long captions – a long caption may look good at 300px, but not at 180px. If any of the above is known, only is non included in the paradigm file details, and then it should be added in that location.

Placing [edit]

In general, portraits and other strongly directional works should face into the folio. Think the problems described in the "size" department above when placing images; at some settings images may either create large white spaces or overlap at left and right, leaving a narrow strip of text in the centre.

Information technology volition oft exist amend to place a piece of work by the creative person at the top of a biography; this is especially the case for imaginary portraits of early artists, or photographs of more contempo ones.

Available templates [edit]

• {{Artwork}}
• {{Infobox Painting}}
• {{Sculpture}}
• {{Infobox Creative person}}
• {{Image information art}} – for image pages

Too many pictures, also picayune text? [edit]

Solutions:

a) Write some more than text.

b) Apply a gallery

c) Link to specific works, either by a piped link in the text, or from a footnote. This is especially useful as the links can become to Commons or the web in general, although generally web links should be in the notes.

Try to avoid just stringing images down the side opposite white space (although some white space may occasionally exist necessary at the end of a short article, depending on screen size and file settings).

Galleries [edit]

Galleries are oftentimes necessary within the body of a VA article. These galleries should relate clearly to the text, exist proportionate to it and provide acceptable information in the captions. Galleries are important, not only for ornamentation, but to reinforce and dilate the meaning of the article and to demonstrate meaning and nuance, which cannot exist fabricated by words alone.

A Wikipedia article gallery should non just replicate a Commons gallery, merely should use images with editorial sentence, as would be given to text, with the validity of inclusion of each paradigm considered. Come across WP:IG for the policy from the Wikipedia Manual of Style.

A detail image may exist better used as a stand up-alone one in the body of the text, if:

• It is an outstanding instance of work
• It is specifically referred to in the text
• Information technology demonstrates an aspect (eg a particular period or style feature) referred to in the text: brand this clear in the paradigm caption.

Minor galleries can exist inserted in the body of the text: this is useful for full general topics, such as Western painting. In a single creative person biography, information technology may exist more appropriate to include one gallery at the stop of the article, such every bit in Pierre-Auguste Renoir. Claude Monet has ii galleries within the text, one for before and 1 for later works. Cocky-portrait has both section galleries and a general gallery at the end. Mostly a gallery volition be arranged chronologically.

At that place are options in formatting galleries which make them appear wider, or alter the number of images in a row, but these can cause visibility problems with dissimilar screen resolutions and should normally be avoided. See Help:Gallery tag.

In a Rfc on the use of "packed" format galleries in an art article (Paul Signac), the consensus was against their use.

Prototype rationales [edit]

Rationales should be added to the file for all Fair Employ images used, detailing the reasons why the prototype is needed for each commodity in which it appears.

Uploading [edit]

Where possible upload to Eatables, and remember to categorise as thoroughly as possible (not always piece of cake at that place – expect at comparable images and see what categories they are in). Images available for Off-white Use simply cannot be uploaded there still, which affects many 20th century images, and those of three-dimensional objects.

• Before y'all upload an image of art, know the following:
  • The source of the image. Usually the URL from which you downloaded it.
  • Who is the creative person(south)?
  • The proper noun of the piece?
  • When was the piece completed?
  • What are its dimensions?
  • What is the medium (oil and canvas/marble/mixed media ...)?
  • Where is it displayed?
  • Copyright status – Is it copyrighted? By whom? If it is copyrighted and not by yourself, prepare a fair use argument.
• Upload the paradigm.
  • Include all of the above information when uploading or add it to the image page afterwards you've uploaded the file.
  • Using the {{Epitome data art}} template for the higher up information formats the data hands.
• Add the image to an article.
  • Use regular wiki markup. Run across Visual file markup for syntax rules. Use the thumbnail parameter and write a caption that includes information near the work.
  • Guidelines on what to include and how to format it, just one external example, http://www.collegeart.org/caa/publications/AB/ABStyleGuide.html.
• Add {{commonscat}}, or {{commons}} in the External links department to provide a link to the commons gallery or article.

Epitome resources [edit]

• Commons – very large, rather chaotic, and with very many washed-out old scans (from out-of-copyright books). Everything on Commons tin be used without further worries.
• Google Images – tin be very skillful, especially for portraits etc.

Sources [edit]

References are essential [edit]

Many manufactures, particularly on contemporary artists, groups and "movements", are deleted for failing to demonstrate notability past providing feasible references from secondary sources, independent of the subject—i.e. not simply the field of study'southward ain website or postings on other spider web sites. There is a guide to Wikipedia format at Referencing for beginners.

Useful external resource [edit]

Unfortunately, 19th century books bachelor online are probable to be out of engagement and often contain serious errors, and thus should generally be avoided.

• There are over ane,500 books published by the Metropolitan Museum of Art in New York City, which are fully available as PDFs online (though the copyrights are still reserved). They can exist found at this page
• United kingdom residents can get online access to Oxford Art Online (The Grove Lexicon of Art) through their local library. Contact here if in that location are difficulties. Many US libraries likewise accept online access for library card holders.
• The Bridgeman Art Library Image Search – useful for finding the current location of art works and details about them (museum, size, date created, etc.), though Google images gives wider coverage
• The Getty artist lookup – aid to standardizing preferred artist name and notability. Useful for checking names, dates of birth and decease, and family relationships to other artists.
• Getty "The Art & Architecture Thesaurus (AAT) is a structured vocabulary of around 34,000 concepts, including 131,000 terms, descriptions, bibliographic citations, and other information relating to fine fine art, architecture, decorative arts, ..."
• Cameo database from the Museum of Fine Arts, Boston – highly-specialized database on pigments and materials
• artcyclopedia.org – search to locate resource about an artist
• ArtLex art dictionary – definitions of terms
• Art Great britain – project by Art UK to put all oil paintings in the UK public collections online (formerly displayed as "Your Paintings" on the BBC website; organisation previously known as the Public Catalogue Foundation)

External resources for writing virtually art [edit]

• http://www.skidmore.edu/academics/arthistory/paperpg/alphabetize.html
• http://world wide web.collegeart.org/caa/publications/AB/ABStyleGuide.html
• Association of Art Editors site hosts a freely accessible art writing fashion guide

Issues to discuss [edit]

Notes [edit]

Instance image and caption [edit]

Enter:

[[File:La familia de Carlos Four, Francisco de Goya.jpg|thumb|[[Francisco Goya]],  ''Charles Four of Spain and His Family''. 1800–1801.  280 × 336 cm. Oil on canvas. [[Museo del Prado]], [[Madrid]].]]

Event:

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Source: https://en.wikipedia.org/wiki/Wikipedia:Manual_of_Style/Visual_arts

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